My aim is to offer insights into some of the more subtle principles underpinning prints. The commentary is based on thirty-eight years of teaching and the prints and other collectables that I am focusing on are those which I have acquired over the years.
In the galleries of prints (accessed by clicking the links immediately below) I am also adding fresh images offered for sale. If you get lost in the maze of links, simply click the "home" button to return to the blog discussions.

Gallery of prints for sale

Friday, 5 January 2018

Gérard de Lairesse’s etching, “Ver” (Spring), 1675

Gérard
de Lairesse (1640–1711)

“Ver” (Spring), 1675, from the series “The Four Seasons”, published
by Gérard de Lairesse (as inscribed on plate). Although this impression is from
the first edition by the artist, the print was also published byNicolaes Visscher II (1649–1702)
and by Gerard Valck (1651/1652–1726)
in “Opus Elegantissimum”.

Etching on laid paper with small margins lined with an archival
support sheet.

Lifetime impression; state ii (of vi) My attribution of this
impression to the second state is based on the erasing of Lairesse’s publication
details and the addition of the (state iii) lettering, “Per Gerardum de
Lairesse inv. et sculp. et per Nicolaum Visscher edit. cum Privil. Ord. Gene.
Belgii Foederati" (see the BM impression no. 1929,1112.2.36), before the
addition of the (state iv) lettering, "nunc apud G.Valk". Timmers
(1942) advises that there are six states.

Condition: crisp lifetime impression with small margins and laid
upon an archival support sheet. There are restorations in the upper and lower
margins and small dots within the image. The sheet shows signs of use (i.e.
there are minor marks—see small mark in the sky above the centre figure—and
mellow toning).

I am selling this lifetime impression executed by the major 17th
century academic artist known as the “Dutch Poussin” (see the BM biographical
notes for this artist) for the total cost of AU$251 (currently US$197.65/EUR164.37/GBP145.68
at the time of posting this listing) including postage and handling to anywhere
in the world.

If you are interested in purchasing this light filled etching
after one of Gérard de Lairesse’s own paintings (as inscribed on the plate), please
contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal
invoice to make the payment easy.

This print has been sold

Catchphrase titles for artists are often interesting in a forgettable,
superficial way. In the case of popular nicknames bestowed on Gérard de
Lairesse, such as “The Dutch Poussin” or “The Dutch Raphael”, the names hint at
deeply rooted issues that made the titles potent and significant. Certainly, Gérard
de Lairesse’s style and choice of allegorical subjects connect him to these artistic
luminaries but there is something even contentious about his linkage to the
classical tradition: an undercurrent of conflict in Netherlandish art that he
was perceived to be a leading figure. In short, Gérard de Lairesse was seen as
the apotheosis of art based on a grand academic vision of perfect beauty against
which artists like Rembrandt with their celebration of the everyday, and sometimes
the ugly, side of life were at odds.

Interestingly, Rembrandt may not have experienced feeling of animosity
towards Gérard de Lairesse, even after receiving such disparaging comments from
his rival that his paintings “merely achieved an effect of rottenness … like
liquid mud on the canvas." (seehttp://archive.spectator.co.uk/article/16th-june-1894/23/rembra_ndt-when-the-magnificent-dream-of-painting-).
After all, Rembrandt even chose to paint Gérard de Lairesse’s portrait—albeit when
the great classicist was blind and whose face had become deformed from congenital
syphilis.